Francesca Woodman and the Kantian Sublime

1. Auflage 2010
ISBN: 978-0-7546-6344-7
Verlag: Routledge

Buch, Englisch, 186 Seiten, Format (B × H): 161 mm x 240 mm, Gewicht: 452 g

In her feminist inquiry into aesthetics and the sublime, Claire Raymond reinterprets the work of the American photographer Francesca Woodman (1958-1981). Placing Woodman in a lineage of women artists beginning with nineteenth-century photographers Julia Margaret Cameron and Clementina, Viscountess Hawarden, Raymond compels a reconsideration of Woodman's achievement in light of the gender dynamics of the sublime. Raymond argues that Woodman's photographs of decrepit architecture allegorically depict the dissolution of the frame, a dissolution Derrida links to theories of the sublime in Kant's Critique of Judgement. Woodman's self-portraits, Raymond contends, test the parameters of the gaze, a reading that departs from the many analyses of Woodman's work that emphasize her dramatic biography. Woodman is here revealed as a conceptually sophisticated artist whose deployment of allegory and allusion engages a broader debate about Enlightenment aesthetics, and the sublime.

Autoren/Hrsg.

Raymond, Claire

Fachgebiete

• Geisteswissenschaften Kunst Kunstgeschichte

Inhaltsverzeichnis

Contents: Introduction: geometry of time: Francesca Woodman and the Kantian sublime; Mistresses; Woodman's mirror is an enlightenment mirror; Shaken sublime; Inner force, or, the revelatory body; Mechanics of evanescence; Among the ruins: vertigo, philobats, and statues; Epilogue: the question of Narcissism; Works cited; Index.

Über Autor(innen)

Claire Raymond teaches in the Studies in Women and Gender Program at the University of Virginia, Charlottesville, USA